黃進龍HUANG, Chin-Lung黃秋泉HUANG, Chiu-Chuan2020-12-10不公開2020-12-102010http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0692600290%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115217摘要 排灣族的原真之美意即表現排灣族原始面貌，用正向的角度觀看異質文化，描繪出排灣族人的真善美。排灣族(Paiwan) 發源於北大武山，擁有台灣原住民少有的貴族制度、男女平等社會。在台灣原住民中，排灣族有強烈文化性，作為創作對象十分有表現力。筆者窺見原住民文化在主流文化衝擊下逐漸凋零，希望藉由藝術創作試圖重現排灣族傳統之美，展現族人的生命力。 這次的創作是以排灣族傳統之美為主軸，包含「排灣三寶」和石板屋，以及引人注目的華麗服飾，一件服飾就要耗上一個排灣女子半年的時光。另外精良的雕刻技術，無論木雕、石雕、器具，處處可見。還有最盛大的祭典「五年祭」，傳說排灣族的先祖到神界向女神學習祭儀以祈求五穀豐收、學習農作種植等，並與女神約定，在一段時間內以燃燒小米粳為記號，請神降臨人間。 這次作品中不論頭目、貴族、巫師、勇士或平民，還有排灣族婚禮、祭典、打獵、耕耘、雕刻等生活百態都有取材，盡可能地表現排灣族人的真實面貌。排灣族屬於階級制度，大致上分為頭目、貴族、勇士、平民四個階級。頭目與貴族階級才有特殊裝飾的專利權，例如酷似百步蛇紋的雄鷹羽毛、高貴的琉璃珠、特殊的圖案(人頭紋、百步蛇紋)。 二十世紀後「原始藝術」被重視，保羅•高更（Paul Gauguin 1848-1903年）為藝術帶來新活力，深深地影響許多藝術家，尤其野獸派(Fauvism)、表現主義（Expressionism）與立體派(Cubism)。此次創作中，除了喜愛的寫實作風外，部份作品挪用了這三種風格。筆者從中尋求創作的理論依據，對原始藝術在表現形式的影響作一番研究，並結合排灣族主題，創作一系列排灣族圖像作品，透過筆者的藝術表現，表達對原住民人文關懷，並喚起排灣族人對自己的文化自信。Abstract The Paiwan tribe, the third-largest aboriginal group in Taiwan, originates from North Ta-Wu Mountain in Ping-tung county. It is characterized by a strict social hierarchy of chieftain and clan, nobility and commoners, and gender equality. The abundant cultural legacy retained in Paiwan is so expressive that I chose it as my subject matter. Despite the downgrading of the indigenous cultures in Taiwan, the uniqueness of Paiwan’s ancient lifestyle is presented in my paintings, which display the Paiwan ancestors’ earnestness, simplicity, and vitality. The Paiwan art is well-known for three cultural treasures—ceramic pots, glass beads, and bronze knives, and the slate houses. In addition, the most eye-catching part of the Paiwan group may be its sumptuous attire, which is embroidered with gorgeous patterns. Its woodcarving is another admirable artistic expression. The most important rite of Paiwan group is “Five-Year Worship”, held approximately every five years. According to Paiwan legends, the ancestors learn the rituals from the goddesses in the Divine Divinity so that they have a good harvest. The goddesses periodically descend from the heaven by the signal of burning millet stalks from the Paiwan people. Paiwan has a social hierarchy and the four classes are the chieftain, noble, warriors, and commoners. The revelation of the chieftain and noble classes’ privilege in the attire are an eagle’s feather with serpentine grain, noble glass beads, and certain patterns like human faces, and serpentine. In the series of artistic paintings, apart from the realistic style, the combinations of the study of Paiwan culture, the field survey, and the basis of Western Art, focusing on Gauguin’s impact on the primitive art in the twentieth century, such as Fauvism, Expressionism, and Cubism are used not only to present Paiwan image but to express my humanistic concerns over the aborigines as well as in hopes of evoking Paiwan people’s confidence in their own culture.排灣族原真之美PaiwanPaiwan’s Inner Beauty